The Review: If you’re about the same age as me, then many of your childhood movie memories are focused around the great movies of the Eighties, such as Ghostbusters, Gremlins and The Goonies, and other movies beginning with the letter G. It would also be around the age that you first became aware of horror movies; straddling somewhere between those classic family movies and the first flushes of horror was Fright Night, and while not a classic it’s fondly remembered by many who then graduated to more serious horror. But while it sank its teeth into the necks of some fondly remembered Eighties names, now the modern fondness for remakes has now also claimed another victim.
Comparisons to the original are inevitable, not least in terms of the cast, who have to compare to the likes of Chris Sarandon and Roddy McDowall. In truth, this remake hasn’t skimped in that area, and even the smaller family roles are filled out by familiar names such as Toni Collette and Imogen Poots. Christopher Mintz-Plasse also continues his run of geeky best friends / comedic foils, but the biggest name in the cast is undoubtedly Colin Farrell in the suspected vampire role. (I’m not a fan of spoilers, but frankly if you’re in any doubt whether Farrell turns out to be an actual vampire or not, then you’re probably watching the wrong film.) Farrell relishes the role, and successfully switches from a sleazy charm to a quiet menace effortlessly and fairly owns the bad guy role.
Just like the original, though, this isn’t an out and out horror; there’s not huge amounts of gore or massive scares, but director Craig Gillespie does do a good job of building up the tension at various points. Occasionally the characters make what appear to be massive leaps of logic or behave in slightly unbelievable ways, but that’s mainly due to the slightly knowing tone of the script, and maybe that’s not surprising given writer Marti Noxon’s background on TV, writing for the likes of Buffy and Angel. Consequently she’s not afraid to toss in the odd Twilight reference or other cultural meme, but she and Gillespie do give events plenty of forward momentum and there’s not many in the way of dull moments.
There’s one person I haven’t mentioned yet, though, and that’s the person taking the Roddy McDowall role. Previously, this was a TV host of a vampire show with a cowardly streak when it came to real vampires; as that simply wouldn’t work in this internet age, the role’s been reinvented as a TV magician with a penchant for the dark arts. Oddly cut out of much of the promotional material and not appearing until the half way mark, David Tennant turns up and promptly steals nearly every scene he’s in, his Cockney Criss Angel getting most of the best lines and being generally uncouth and unhelpful at all the right moments. This reinvention of Fright Night won’t go down as a classic, but it’s a lot of fun and should play well to multiplex crowds, whichever night they decide to get their frights on.
Why see it at the cinema: Director Gillespie makes good use of the space he’s got, and there’s plenty of big laughs when Tennant’s on screen and reasonable scares when Farrell’s around.
Why see it in 3D: If you’ve got any sense, don’t. The image is fairly dark for most of the movie, due to being mostly set at night, and there’s been no effort to compensate for this in the 3D image, so the fact you’ll be watching it wearing sunglasses just makes it worse. There’s the odd good 3D moment, but not enough to compensate for not being able to see anything. Stick to 2D on this one.
The Score: 7/10
The Review: I grew up in the Eighties, mainly on a diet of cheesy American TV series. They were two a penny for a while, and I watched them all: Manimal, Street Hawk, Automan and Airwolf, most of them with cheerfully interchangeable plots and a tenuous grip on reality, ideal for a ten year old looking for excitement. The one I replayed most myself was my out and out favourite, Knight Rider (the other one of the pitch above, in case you missed the Eighties for any reas0n); the one played out most on the playgrounds with my friends and I, and probably on most other playgrounds, was The A Team, with every kid fighting over which one they wanted to be. I often got to be Face, partly as he was my favourite at the time (Dirk Benedict was also in Battlestar Galactica, making him extra cool, and they then referred to this in the opening titles! How exciting!), and partly because my friends and I had a well developed sense of irony at an early age, so making Face the ugly one was a no-brainer.
What I was really hoping for was that this modern reboot of the franchise would capture, above all, that sense of playground fun that made you want to be these guys, running around shooting but never fatally wounding. Crucial to that would be the casting of the central foursome and their ability to inhabit the same characters, and this is only a partial success. The most successful is Sharlto Copley, who has huge amounts of fun with Murdock, throwing in random accents and never standing still. Bradley Cooper is a pretty, and pretty reasonable, Face, pulling off the swagger but never quite having the smooth charm of the original. Quinton ‘Rampage’ Jackson is easy enough to watch, but doesn’t have the gruff charisma of Mr T. Most disappointing is Liam Neeson, who never manages the American accent that well and doesn’t have the cocky authority of George Peppard.
However, the group as a whole do have fun, and come across as a unit you’d like to spend time with. The movie’s at its winning best when the four are planning their latest crazy stunt and the interplay is firing; there’s maybe not quite enough of this and maybe a little too much introspection at times, especially in B.A.’s ill advised non-violence sub-plot. The original series was a pure pleasure on its own terms, and at times almost slide-rule linear in terms of its plotting; every good episode consisted of the “team enter a situation, team get in trouble, team use unconventional means to win the day” through-line, and you were never required to engage the brain cells. The movie tries to be a little more involved, but only a little – any twists are all well telegraphed, so you get the same effect as the original, but it doesn’t feel quite as well constructed.
What stops this from being a great film, rather than a just above average one, are the action sequences. The concepts are by and large good, it’s the execution, and Joe Carnahan’s direction, that renders them often unclear and just as often unenjoyable. Apart from the team camaraderie, this should have been the core of the movie, and that’s where the biggest let down comes – if it was an attempt to disguise the shoddy CGI, then it was a mistake and the action shouldn’t have been sacrificed as a result. I love it when a plan comes together, but this one sadly never quite does. If someone’s willing to stump up for a sequel, though, then there’s enough here to think that Plan B might be the one.
Why see it at the cinema: The unclear action sequences do fill the whole frame, so seeing them on the big screen does at least give you the best possible chance of working out what’s going on. There are also just about enough laughs to want to share them.
The Score: 6/10